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                <text>Affiche pour Bruxellois et Wallons un jours surréalisses un an tourisses toujours !</text>
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&lt;p&gt;Catalogue de l'exposition visible du 15 octobre 2017 au 14 janvier 2018&lt;/p&gt;&#13;
&lt;p&gt;Originaire d'Avallon, en Bourgogne, Gaston Chaissac (1910-1964) est issu d'un milieu modeste. Il découvre l'art à Paris en 1937 grâce à sa rencontre avec Jeanne Kosnick-Kloss et Otto Freundlich qui l'encouragent à peindre. Sa première exposition personnelle a lieu à Paris, galerie Gerbo, dès 1938. Durant la guerre, à Saint-Rémy de Provence, il rencontre chez Albert Gleizes quelques grands noms du monde de l'art, André Bloc notamment, qui le soutiennent à distance. Chaissac pose les fondements de son engagement artistique dès la fin des années 1930. Il arrive à Vix, en Vendée, en août 1942, puis suit sa femme Camille, institutrice laïque, lors de ses changements d'affectation, à Boulogne tout d'abord (1943-1948), puis à Sainte-Florence de l'Oie (1948-1961) et de nouveau à Vix à partir de juillet 1961.&lt;/p&gt;&#13;
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&lt;p&gt;Gaston Chaissac croise dans son environnement immédiat, son « champ visuel », les matériaux et les personnages bien ordinaires qui sous sa houlette deviennent motifs artistiques. En chroniqueur de l'Oie, il raconte dans son abondante correspondance les menus événements et les rencontres qui rythment son quotidien. En inventeur de la «&amp;nbsp;peinture rustique moderne&amp;nbsp;», il fait des chemins, des bois, des chantiers ou des décharges de la Vendée ses terrains de jeu et y collecte tout un attirail d'objets, quotidiens ou usagés, qu'il métamorphose par ses talents de coloriste hors-pair.&lt;/p&gt;&#13;
&lt;p&gt;Le Musée de l'Abbaye Sainte-Croix conserve la plus importante collection publique consacrée à l'œuvre de Gaston Chaissac. Cette rétrospective, qui accompagne un nouveau dépôt d'une centaine d'œuvres de l'artiste, revient sur l'ensemble de son travail, depuis ses débuts, méconnus, à la fin des années 1930 jusqu'à ses dernières œuvres qui, au début des années 1960, le révélèrent au grand public. Elle en explore toutes les facettes, dessins, peintures, objets, correspondance, en les plaçant sous le signe d'une expérimentation et d'un renouvellement artistique constants.&lt;/p&gt;&#13;
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                <text>Le MASC conserve la plus importante collection publique d'oeuvres de Gaston Chaissac : plus de cent cinquante peintures, dessins, collages et assemblages et quelques cinq cents lettres la constituent. Il accueille également le Centre d'études Gaston Chaissac qui rassemble une documentation de référence sur l'artiste.&lt;br /&gt;&lt;br /&gt;Ces chroniques évoquées de manière chronologique s'appuient sur les collections patrimoniales et documentaires du musée. Elles ont pour but&amp;nbsp; de donner une vue d'ensemble de la vie et de l'oeuvre de Chaissac, au sein desquelles s'entremêlent et résonnent ses activités plastique et littéraire.</text>
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              <text>&lt;p&gt;Derrière le pseudonyme Suzy Embo (née Suzanne-Thérèse Seuntjens, en 1936) se cache un témoin privilégié de la scène artistique avant-gardiste de l’après-guerre (mouvement Cobra, 1948-1951). Avec ses images abstraites, ses expérimentations photographiques et ses clichés riches en contrastes, Embo rejoint d’abord la Subjektive Fotografie qui met la technique photographique au service de l’expression artistique.&lt;/p&gt;&#13;
&lt;p&gt;Dans les années 1960, son approche bascule. D’artiste photographe, elle devient photographe d’artistes. Elle se lie d’amitié avec Pierre Alechinsky, épouse le sculpteur Reinhoud d’Haese et vit avec eux dans la commune de La Bosse (France). Outre son travail de recherche personnel, elle se consacre alors à la réalisation de portraits informels et intimistes d’artistes reconnus, tels que Pierre Alechinsky, Christian Dotremont, Jean Messagier, Corneille Hannoset, Karel Appel, Walasse Ting, Pol Bury, Louise Nevelson, Alberto Gironella, André Breton, Jacques Ledoux, Yasse Tabuchi ou encore Félix Labisse.&lt;/p&gt;&#13;
&lt;p&gt;La photographe les saisit ainsi durant le temps de la création, prend part à des projets collectifs et documente vernissages, événements, représentations théâtrales ou encore spectacles de danse.&lt;/p&gt;&#13;
&lt;p&gt;&lt;em&gt;Suzy Embo. Artiste photographe – Photographe d’artistes&lt;/em&gt;&amp;nbsp;dévoile un regard spontané documentant à travers ses images rares la période post-Cobra et révèle l’œuvre personnelle de la photographe.&lt;/p&gt;</text>
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                <text>Réflexions sur l'oeuvre récente de René Mels</text>
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                <text>Extrait de la Revue Marginales Juillet 1963</text>
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                <text>Verhesen, Fernand</text>
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                <text>Avec des reproductions d'oeuvres de René Mels&#13;
Dédicace de l'auteur à Pierre Puttemans</text>
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                <text>Fonds Pierre Puttemans</text>
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              <elementText elementTextId="31464">
                <text>suivi de "Retour sans fin"</text>
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                <text>Tardieu, Jean</text>
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                <text>Belaval, Yvon</text>
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                <text>FPPB-TAR-P-0 001 885</text>
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                <text>Tardieu raconte une histoire en se glissant dans la peau d’un enfant. Dans cet extrait, qui va de "Grâce à un tube acoustique..." à "...les hypocrites !", l’enfant essaye de se persuader que dans la pièce voisine, il se passe des choses étranges que ses parents lui ont cachées. &#13;
Par des méthodes argumentatives propres à l’essai, Tardieu tente de prouver que des choses supposées imaginaires peuvent être bien réelles. Ainsi, selon l'âge, l'interprétation diffère.&#13;
Dans une première partie, cette étude montre comment ce texte fait parti du registre de l’essai; dans une deuxième partie, l’auteur nous fait découvrir un monde irréel imaginé par un enfant; et pour finir, il s'agit de montrer que cet enfant veut persuader le lecteur ainsi que lui-même. </text>
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Dédicace de l'auteur à Pierre Puttemans</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="31501">
                <text>FPPB-TAR-A-0 001 886</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="53">
            <name>Abstract</name>
            <description>A summary of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="31502">
                <text>Recueil on ne peut plus hétérogène que je découperais en trois grandes parties, les "Formeries", poèmes dans lesquels Jean Tardieu joue avec les mots avant tout, la partie intitulée "Comme ceci Comme cela" dans laquelle on retrouve un réel hymne à la nature et enfin la dernière"Les tours de Trézibonde" où là, il s'agit plus d'un assemblage de textes que de poèmes à proprement parler.&#13;
Tardieu est curieux de tout, s'intéresse à tout et particulièrement à notre chère syntaxe (ce qui rappelle un peu le titre de ce recueil). Il s'amuse à décomposer les mots, à en inventer de nouveaux, à conjuguer des verbes, à leur différents emplois, que ce doit par exemple dans un calligramme ou dans un télégramme.&#13;
Ce qui m'a paru le plus flagrant dans cet ouvrage est que le poète nous montre son admiration pour la nature qui nous entoure et ce, plus particulièrement dans les deux premières partie de cet ouvrage. La dernière partie est, je dirais, beaucoup plus sombre car, comme bon nombre de poètes, Tardieu s'intéresse non seulement à la vie mais aussi à la Mort...et l'écriture est d'ailleurs un très bon moyen d'exorciser son angoisse mais aussi ses propres démons qui nous hantent (voir la chapitre "La vérité sur les monstres).&#13;
Un recueil vite lu, agréable à lire puisque très varié mais dont je ne peux pas certifier que j'en garderai un souvenir ineffaçable. A découvrir !</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="90">
            <name>Provenance</name>
            <description>A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="31503">
                <text>Fonds Pierre Puttemans</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="2501">
        <name>Gérard Macé</name>
      </tag>
      <tag tagId="1680">
        <name>Jean Tardieu</name>
      </tag>
      <tag tagId="15">
        <name>Poésie</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
